Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Finland and from Delhi.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1968 to 1971.
I'm losing my edge.
To all the kids in Tehran and Accra.
I'm losing my edge to the art-school Toronto kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1976 at the first Feelies practice in a loft in Haledon.
I was working on the linndrum sounds with much patience.
I was there when Michael McDonald started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Soft Machine to the disco kids.
I played it at the Hacienda.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Q65. All the underground hits.
All Black Pus tracks. I heard you have a vinyl of every Intrusion record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Wasted Youth record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crash Course in Science,
The Five Americans,
Throbbing Gristle,
Sixth Finger,
Darondo,
Lungfish,
Grey Daturas,
Jeru the Damaja,
8 Eyed Spy,
Sunsets and Hearts,
Steve Hackett,
Lou Reed & John Cale,
Gil Scott-Heron and Jamie xx,
Crispian St. Peters,
Inner City,
Electric Light Orchestra,
Rowland S Howard / Lydia Lunch,
Newcleus,
Lindisfarne,
D'Angelo,
New York Dolls,
Soulsonic Force,
Prince Buster,
Monks,
Skaos,
Whodini,
Quadrant,
Faraquet,
Cymande,
Sly & The Family Stone,
Con Funk Shun,
John Foxx,
Marmalade,
The Walker Brothers,
Qualms,
The Detroit Cobras,
Ohio Players,
DeepChord presents Echospace,
Guru Guru,
Minor Threat,
KRS-One,
The Music Machine,
Drexciya,
The Offenders,
Vaughan Mason & Crew,
Albert Ayler,
The Dead C,
Sexual Harrassment,
Funkadelic,
Bad Manners,
Thompson Twins,
Arthur Verocai,
Glambeats Corp.,
Lou Christie,
Altered Images,
Eddi Front,
Outsiders,
The Doors,
H. Thieme,
Dead Boys,
Toni Rubio,
Sight & Sound,
The Techniques, The Techniques, The Techniques, The Techniques.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.